Criticism (2003) - Twelve Fallacies in Contemporary Adaptation Theory

Details

• article: Twelve Fallacies in Contemporary Adaptation Theory
• author(s): Thomas Leitch
• journal: Criticism (01/Apr/2003)
• issue: volume 45, issue 2, pages 149-171
• DOI: 10.1353/crt.2004.0001
• journal ISSN: 0011-1589
• publisher: Wayne State University Press
• keywords: Alfred Hitchcock, American Film Institute, Analysis, André Bazin, Anthony Perkins, Audiovisual communications, Brian McFarlane, Cary Grant, Champagne (1928), Charles Barr, Cinema, Dramatic arts, English Hitchcock (2000) by Charles Barr, English Literature, Fallacies (Logic), Fiction, Film, Film Adaptations, Film Theory, Film adaptation, Film theory and criticism, Filming, Foreign Correspondent (1940), General, General Literary Studies, Gus Van Sant, Hamlet, Interactive Media, James Griffith, James Naremore, James Stewart, Janet Leigh, Laurence Olivier, Leo Braudy, Lifeboat (1944), Literary Theory, London, England, Marion Crane, Motion picture industry, Motion pictures, New York City, New York, North by Northwest (1959), Notorious (1946), Oscar Wilde, Pauline Kael, Professor Jordan, Psycho (1960), Radio, Saboteur (1942), Shadow of a Doubt (1943), Spellbound (1945), Television, Television adaptations, The 39 Steps (1935), The Birds (1963), The Man Who Knew Too Much (1934), The Ring (1927), Thomas M. Leitch, Titanic, Torn Curtain (1966), Twentieth Century, V.F. Perkins, Vera Miles

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Abstract

Leitch discusses the fallacies regarding the study of moving images as an adaptation of literary works. Among the many fallacies mentioned is the premise that literary texts are verbal, while films are visual. It's fallacious, according to Leitch, for reason that movies are presented to the audience not strictly limited in its visual form, but may be presented in an audio-visual presentation.